French's International Ccpyriglited (in England, her Colonies, and 
the United States) Edition of the Works of the Best Authors 




OUR CAREER 

A COMEDIETTA 
ir n One Bet 

BY 

EDNA RIESE 

Copyright, 1913, by Samuez French 



NOTICE.— The Profe.ssionaI acting rights of this play are reserved by 
the publisher, and permission for such performances must be ob- 
tained before performances are given. This notice does not apply 
to amateurs, who may perform the play without permission. All 
unauthorized professional productions will be prosecuted to the 
fullt'xtent of the law. 



PRICE 25 CENTS 



New York 
SAMUEL FRENCH 

PUBLISHER 

28-30 WEST 38th Street 



London 
SAMUEL FRENCH, Ltd. 
26 Southampton Street 

STRAND 



"OUR CAREER" 



A COMEDIETTA 
Tn One Bet 



EDNA RIESE 



COPTBIQHT, 1913, BT SaMUEL FR£NCB 



NOTICE.—The Professional aotinft rights of this play are re- 
served by the publisher, and permission for such perform- 
ances must be obtained before performances are ftiven. This 
notice does not apply to amateurs, ivho may perform the play 
^rithout permission. All nnanthorized professional pro- 
ductions will be prosecuted to the full extent of the law. 



PRICE 25 CENTS. 



New Yobk 
SAMUEL FRENCH 

PUBLISHEB 

28-30 WEST 38th STREET 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Stbebt 

STRAND 



OUR CAREER. ^ ' 



A Farce in One Act, by Edna Riese. 

EXPLANATORY. 

Mrs. Dunn has come from Marysville and 
sets up house in Berkeley in order that her children, 
Dolly and Stewart, might attend college. She has 
agreed to accept Bobby Cameron, her neighbor's 
son, as a 'hoarder — he also has come to Berkeley to 
attend University. Since entering University, 
Bobby and Dolly have paid off on a lot on which 
they intend to build a home — after both are gradu- 
ated and tl;ey have been married. In the competi- 
tion for ti.e best play for the Junior Farce, Bobby's 
play has been accepted and, as a surprise, Mrs. 
Dunn, as a present to her future son-in-law for his 
success, has secretly paid off the last fifty dollars 
that Bobby and Dolly owed on the lot. It has 
been understood by Bobby and Dolly that the day 
their lot is completely paid for they are to an- 
nounce their engagement. The deed for the lot ar- 
rives the morning after the Junior Farce. 



TMPS6-CC7132 

2 

OUD 34083 



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OUR CAREER. 



DRAMATIS PERSONAE. 

Bobby Cameron Author of the Junior Farce 

Dolly Dunn. . . .A clever, chic girl and fiancee of 

Bobby 
Stewart -Dunn. ,. ..^.Dolly's brother, in love with 

Mildred 
Mrs. Dunn 

Mr. Charles Reney Emerson. .Dramatic critic cf 

■ -' - the Berkeley Times 

M%.' 'Pierre Delmarge. . . .^ French artist of tlie 

/ Berkeley Ti:nes 

Vera/Masten A frivolous, lisping maiden 

Mildred Benson. . . .,....' •_• -^ college girl 

Percy Condon...- An effeminate college bov 

The: Boys of the ZI Szvell Up Club 
Th^ Girls of the We Turna Dozvn Club 

Flace:^— Reception room of Mrs. Dunn's house 
' in Berkeley. 

Time;— Ten o'clock, the morning after the Junior 

c^v:: c c.:-- Farce. 



OUR CAREER. 



Parlor 



Couch 



Chair 



[ Chair \ \ 

Dinlne room 



Chair 



Library 
Table 



Chair 



Chair 



Chair 



Reception Hall of the Dunn Home 

Pennants are tacked all over the walls. 

Also there are tabourets with big vases of flowers all over the 
room. A telephone stands on the library table— also a huge 
bouQuet of flowers. 



OUR CAREER. 



Scene: — The reception room of Mrs. Dunn's 
home. The room is in disorder. About the 
room are vases filled zvith flowers which have 
been showered upon Bobby after the previous 
evening's success. In one corner is a floral 
piece zvith the inscription, " To the Author of 
the Junior Farce." Library table doivn center. 
A telephone on table. The curtain rises disclos- 
ing a dramatic interview taking place. The 
French artist, the English critic and Bobby are 
all seated down stage. Bobby has assumed an 
affected pose while his picture is being drawn. 
Down stage to the right a door opens into the 
parlor separated from the reception room by 
portieres. Also door left to drazuing room down 
stage. Up stage to the left are three steps lead- 
ing to the upstairs of the home. Also up stage 
to the right a slight view of the hallway is seen. 

Artist. Less than one minute. Less than one 
minute. Keep your head — so — so. Less than one 
minute. I will be finished. 

Bobby. Take your time, Delmarge, I want a 
good portrait. 

Dramatic Critic. {finishing interview) Is 
that all the news you can give me about yourself? 

Bobby. Yes, that's about all. I can't think of 
5 



6 OUR CAREER 

anything else, now. Those facts will fill up a 
whole page, won't they? 

Critic. Yes, approximately. Well — Cameron — 
even a hardened critic like myself must admit your 
farce was a success last night. Best I've seen since 
I graduated. Of course, nothing could compare 
with the play that that class of ours put on. Ex- 
quisite talent in that class. Billy Rady — Shorty 
Sykes. But that's not my point. What I wanted 
to say — Cameron was, I advise you to keep work- 
ing along this line — playwriting — I think you have 
real ability. 

Bobby. Yes. I have always felt I could do big 
things in this kind of work, if I had the opportunity 
of proving it. 

Artist. Finished ! Regarde Done — it ees an 
exact likeness. Exact. 

(Bobby gets up — stretches, looks at portrait.) 

Bobby. Yes, it is good, but I think I have a bet- 
ter looking nose than that. 

Artist. Non, monsieur, impossible — impossible. 
It ees an exact likeness. Regarde done, {points 
to Bobby's tiose — then to portrait) 

{Bell rings. Artist and Critic cross left. Bobby 
answers hell — crosses right. Dolly Dunn en- 
ters—she sees only Bobby in her excitement. 
She has a newspaper in her hand.) 

Dolly. It made a hit — the biggest hit ever. Oh, 
Bobby, the whole town is raving about your farce 
last night. Look at the write-ups, they gave you in 
the newspapers. Oh, I'm so proud of you, Bobby — 
I just love you, Bobby, I just love you. 

(Bobby is annoyed at the interruption.) 
Bobby, {coldly) Dolly, this is Mr. Charles 



OUR CAREER 7 

Reney Emerson, and Mr. Pierre Delmarge, dra- 
matic critic and artist of the " Berkeley Times." 

Dolly, {embarrassed) Oh, I beg your par- 
don — Good morning. 

Artist. DeHghted to have— ze— pleasure. 

Dramatic Critic. Good morning. My word 
is this your sister, Mr. Cameron? 

Bobby. No. This is Miss Dunn, the daughter of 
the lady I board with. 

(Dolly, mystified at Bobby's coldness, stands si- 
lently ^ thinking the cause of his manner— the 
bell rings, Dolly goes to door and receives the 
morning's mail. She glances hurriedly 
over it, and reads excitedly to herself: ''Berk- 
ley Land and Improvement Company." The 
three men are busily engaged in low conversa- 
tion—discussing the portarit — Dolly leaves the 
room gaaing at the mail.) 

Dramatic Critic, (gaces at watch) Half-past 
ten. _ My word ! I have to hurry— if I want to get 
this interview in this afternoon's paper. Good-bye 
Cameron — good luck to you. Clever chap ! Clever 
chap ! 

Bobby. Good day, Emerson — give me a good 
write-up and I'll make it all right with you. 

Artist. Au revoir, Monsieur Cameron, I, too, 
wish ze all ze luck in ze world. Regarde done, it 
ees an exact likeness. Exact. 

(Exit Dramatic Critic and Artist. Bobby is left 
alone on stage. He is walking up and down 
thinking seriously— wears an important man- 
ner—goes to mirror left stage, looks at his 
nose.) 

Bobby. Darn it, that Frenchman can't draw a 
straight line. 



8 OUR CAREER 

(Enter Dolly — excited, zvith an opened letter in 
her hand.) 

Dolly. Oh, Bobby dear, can you imagine what 
came in the mail just now? Guess, Bobby — guess. 

BoBDY. (abruptly) No — I can't — what is it? 

Dolly. I'l! give you a hint. It's something con- 
cerning both of us. 

Bobby. No — I can't imagine what it is just now. 
Besides, Dolly, you mustn't bother me — I'm busy 
at present — don't you see I'm thinking. 

Dolly. See — you are thinking. 

Bobby. Yes — I'm thinking of another plot for a 
play. A fellow that can write a Farce like the 

one I turned out last night 

. Dolly. Oh, but, Bobby, listen to this— this is so 
much more important. It's about 

(Several people are heard coming up the front 
stairs, talking, laughing, etc. The bell rings. 
At sound of voices Dolly lays Plan and Deed 
on the table. Bobby opens the door and the 
boys of ZI Swell Up Club, and the girls from 
the We Turna Down Club enter noisily. They 
are profuse in their congratulations to Bobby. 
They ignore Dolly. Bobby dozvn center stage 
— Dolly down extreme left stage.) 

(Everybody talking noisily.) 

1ST Clubman. Already! Fellows. Six for 
Cam.eron. (college people give yells) Rah, Rah, 
Rah, Rah, Rah, Rah, Cameron. It was certainly 
great, old boy. You are alright. 

Bobby. Do you think so — I'm glad — thanks. 

Percy Condon. Well — the Junior Farce put it 
all over any comedy I've ever seen, professional 
and amateur perform.ances included. 

Everybody. That's what I say. 



OUR CAREER 9 

Percy Condon. Oh say — you ought to have seen 
the people in the audience laugh ! I watched them 
the whole time I was on the stage. 

1ST Boy.. Well, you acted as if you were watch- 
ing everybody but yourself. 

V^ERA Masten. (a petted, lisping maiden, trying 
to make an impression on Bobby because of his 
success) Oh, it was thimply dandy, Mr. Cam- 
eron — and you know — Oh, I want to tell you some- 
thing — I got a tswap. It's not going to be last go 
either. Everybody listen to this. You know my 
mother said there was a man sitting back of her — 
She couldn't get a very good look at him, but he 
was one of a theater party — you know he was Mr. 
Lee 'Brady — that great New York manager and 
producer that's visiting the coast. 

Everybody. Lee Brady! 

Percy Condon. Leon Brady — was he there? 
Oh say, what did he look like? 

Vera Masten. Didn't I just tsay — that my 
mother said she didn't get a good look at him — but 
she heard him say to the gentleman that sat next to 
them 

Bobby. Yes, yes, go on. 

Vera Masten. That, — well — I forget exactly 
what she said he said, but anyway he said that the 
fellow that wrote the farce was a perfect wonder. 

Everybody. Pretty good swap for you, Cam- 
eron. 

{Repeated congratidations given. Boys and girls 
cater to Bobby, zvho enjoys it. He entirely ne- 
glects Dolly. Steps are heard coming dozvn 
stairs and Stewart Dunn runs down center 
stage excitedly.) 

Stewart. Hello. Everybody, hello — Hello — 
Hello — But, but, where's Mildred? 
Bobby. Mildred? 



lO 



OUR CAREER 



Stewart. Why, yes — Why, I heard her voice 
down here a minute ago — just as plain as day. 

Bobby. Gee — well, what do you know about 
that, fellows, isn't that a dead give away? He's got 
Mildred Benson on the brain. Mildred wasn't in- 
side of this house all morning for a wonder. You 
are at outs with her anyway, aren't you? 

Everybody. At outs — (betzvecn themselves) 
Did you hear about it ? Wonder what it's all about, 
and they used to be so intimate. 

Stewart, (to Bobby) It's none of your affairs, 
Cameron — and anyway you don't need to advertise 
my personal affairs to whole Berkeley, just be- 
cause you happen to live in the same house with us. 

Bobby, (sarcastically, after a moment's, silence) 
I wouldn't stop to argue with a fellow /« love. 

(Stewart advances to strike Bobby. One girl 
screams. There is much excitement and ^em- 
barrassment throughout the room over the 
zvords exchanged — hut most of the boys and 
girls seem to revel over the excitement.) 

Percy Condon. Oh say ! Come on, boys, don't 
fight, let's celebrate the success of the Junior Farce. 
Let's have some music — let's dance. Piano any- 
where? Oh yes, there's one. 

1ST Boy. Alright, Percy dear, (boys and girls 
rush Percy into parlor) You play. Strike up some 
good rag- — 

Everybody. No — Boola Boola. 

(Bobby, Dolly and Stewart left on stage. Vera 
Masten at doorway lingers to hear quarrel.) 



Stewart. You know, Cameron, you had the 
nerve talking about my affairs in the way you did. 

Bobby. Aw, forget it, Stewart, don't bother me 
about your affairs just now. My friends have 



OUR CAREER ii 

come to congratulate me. They are my guests. I 
must entertain them. 

(Bobby leaves room with Vera Masten and enters 
the parlor to be ivith the dancers. Stewart 
■walks upstairs sulkily. When he gets to mid- 
dle of stairzvay he exclaims to Dolly. Dolly 
has crossed to right.) 

Stewart. That Bobby Cameron has too much 
of a swell head since he wrote that Junior Farce. 
You can tell him, Dolly, that I think so. Success 
don't agree with him. If he wants to know some- 
thing I'll tell him. Something he has forgotten en- 
tirely. It was you, Dolly, that gave him the plot to 
that play of his. 

(Dolly is alone on stage — she is worried. Mrs. 
Dunn enters from the dining-room, with a 
large bunch of flozvers, she is a gentle, opti- 
mistic, motherly woman.) 

Mrs. Dunn. Dolly, I am going to Oakland to 
see Mrs. Crosby, I'll bring her these flowers, we 
have so many of them. Didn't Bobby's friends treat 
him royally? I won't be back till late this after- 
noon. Have supper ready — dearie. (holds up 
flowers) Aren't they beautiful? (she is about to 
leave) 

Dolly. Mother dear, (she calls her mother 
back) Oh, mother dear. I'm sorry to tell you 
this — but you know Stewart and Bobby had words 
again just now. It worries me to think they quar- 
rel lately — they never used to. It was about 

Mrs. Dunn. Don't tell me what it v/as about, 
dearie — I don't care — don't worry about it, it's so 
foolish to worry, everything comes out right in the 
end. The boys were both up too late last night — 
that's all. Now, go right in there with the com- 
pany, and enjoy yourself — sister — I really must 



12 OUR CAREER 

start off now. {goes to door) Oh by the way, 
sister — what did Bobby say to the deed for the lot? 

Dolly. Oh — oh — mother, I didn't tell him yet, 
I'll tell him right now — that will fix the whole affair 
up. Oh — mother — you are the dearest thing — you 
always know how to smooth everything over. 

Mother, {laughs happily) Good-bye, dearie. 

Dolly. {runs, kisses Mother) Bye-bye, 
mother. I'll call Bobby and tell him right now — 
{goes to table and gets the plans and deed zvhich she 
had left there) 

{Exit Mrs. Dunn.) 

Dolly. {she goes to parlor door and calls 
eagerly but quietly) Bobby — Oh, Bobby. 

(Bobby enters hurriedly — disturbed at the inter- 
ruption. Dolly closes parlor door, then eagerly 
follows Bobby doivn center stage. ) 

Dolly. Oh — Bobby — I've got the biggest treat 
for you. I can't keep it any longer. It's some great 
news, Bobby — some news. You know when the 
mailman came a little while ago? Well, he brought 
this. The deed for our lot ! 

Bobby. The deed? 

Dolly. Yes— I know you are surprised — I'll tell 
you how we got it. It's the sweetest part of it all. 
You know when mother heard that your Farce had 
been selected in the competition, she wanted to 
make us both happy, and what do you think she 
did? 

Bobby. (coldly, uninterested) Why — I don't 
know — I can't imagine. 

Dolly. She paid the last fifty dollars we owed 
on our lot, and now, Bobby, this deed is ours! It's 
ours! Isn't she good? Bobby — besides, what do 
you think? Here are some plans she had drawn 



OUR CAREER 13 

for our cottage. Look — isn't it the cutest little 
bungalow ? 

Bobby. (without looking) Yes — Yes! Very 
Is that all you wanted, Dolly? (Bobby crosses 
right) 

Dolly. No, not quite, Bobby. Do you remem- 
ber what our plans were? It's what I called you in 
for, especially, 

Bobby. Our plans ! 

Dolly. Oh, I know you haven't forgotten what 
we promised each other — but you're too excited to 
think. You know the day we entered college — and 
paid the first installment off on the lot, you said — 
I remember just as well as if it happened this very 
minute, you said — the day our lot was entirely paid 
off we would announce our engagement. Isn't this 
the greatest time to do it? Bobby, won't they all 
be surprised? Oh, I'm so happy — I'm so happy to 
think that the boy I love 

Bobby. Dolly — we made those plans two years 
ago. Things change in two years — I might as well 
tell you now as any other time. I have been want- 
ing to speak to you about this for quite a while. 
This is a good opportunity. You saw what a suc- 
cess my play made last night — everyone thinks I'm 
cut out for a successful playwright. From now on, 
Dolly— I can't allow anything to take my time, but 
MY WORK. I have a future before me. I feel I 
am made to do big things, I must break any ties 
that would interfere with my profession. If there 
was an understanding of an engagement on your 
part, Dolly, — Dorothy, — rather Miss Dunn, it must 
be broken. My Work — My Career, — stands in the 
way. 

Vera Masten. {enters) Oh, Mr. Cameron — 
I've been waiting for you to come in and dance with 
me, will you? 

Bobby. Why, certainly — Miss Masten, de- 
lighted. 



14 OUR CAREER 

(Exit Bobby and Miss Masten. Dolly is 
alone on stage. She is stunned — then breaks 
into a sob. Throtvs herself into a chair center 
stage. 

Dolly, (sobbing) No. Crying won't help. I 
love Bobby Cameron. He loves me, I know he does. 
It's the glare of his first success that has turned his 
head. (rising angrily) Oh — I wish that there 
never was such a thing in this world as a Junior 
Farce. But I must be strong. I've got to show 
him I don't care, "Oh. but I would like to teach you 
a lesson. Bol)by Cameron, (she stands dozvn center 
stage, a gleam of light conies into her eyes. She 
goes to door, calls quietly but tensely upstairs to 
Stewart) Stewart, — Stew. 

Stewart. Yes — Sis — what do you want? Why 
aren't you dancing? 

Dolly, (to herself) Dancing, (to Stewart) 
I don't want to dance just now — I want you to do 
me a favor, Stew — if you do me this one favor, I'll 
do anything in the world for you. Anything — • 
Stew — see that your studs are in your shirt every 
time you want to go to a dance next semester — 
Anything, Stew — anything — if you'll do this one 
favor for me. 

Stewart. Talk plain — Sis — what do you want? 

Dolly. A little while ago — Vera Masten — lovely 
girl — said — that Lee Brady — you know that great 
New York theatrical manager — he was in the audi- 
ence last night. 

Stewart. Well, what about it? 

Dolly. Stew — I want you to dress up — as Lee 
Brady — Ring our front door bell — and' ask to see 
Bobby Cameron. Wear Father's Sunday suit, his 
silk hat — and use that wig I wore to the masquerade 
ball — it's in my closet under my hat box. 

Stewart. Why, that's crazy — Dolly. What's 
your purpose? 



OUR CAREER 15 

Dolly. (to herself, sadly) My purpose — 
(gaily to Stewart) My purpose. Stew — why, I 
only want to do it for fun — as a joke — see! Don't 
be such a bonehead, Stew. Just do it as a joke. I'll 
tell you what to say after you are dressed. You'll 
forget it if I tell you now. Say you thought his play 
was good — that 

Stewart. Say / thought his play was good ! 
Not on your life! (fo Dolly) Sis, I'll dress up as 
Lee Brady for you — if yon think it will be a good 
joke. 

Dolly, (beaming) Will you, Stew? Oh, you 
are the dearest brother any girl could have in this 
world — Make it real, Stew — make it real. 

Stewart. I'll make it so real — that I'll take the 
swell head out of Bobby Cameron so quickly that 
he'll forget he ever had one. 

Dolly. Hurry — Stew — come on upstairs. I'll 
go with you, I want to tell you what to say — -I want 
you to do it while Bobby's friends are still here. 
(Dolly goes to door up stage left) 

Stewart. But, wait a minute. Sis — you said 
you'll do any favor I ask of you? 

Dolly. Yes — of course — I will, cross my heart 
to die — Swear on pa's health — only hurry — come 
on. 

Stewart, (drazving Dolly to telephone) Now, 
just hold your horses. I want you to ring up 
Mildred and tell her I'm sorry for everything I said 
and did, that she didn't like. Beg her to come to 
lunch; it'll give us a chance to get friends again. 

Dolly. Oh, Stew, you make me sick. That's so 
unimportant, (taking up receiver) Hello, Central 
— why don't you answer this telephone? Oh, oh, 
Berkeley — what's her number? 

Stewart, (like lightning) Berkeley 3222. 

Dolly. (at 'phone) Hello, Hello, — Berkeley 
3222. This you, Mildred? Well, listen, Mildred. I 
want to tell you something — Oh, yes, you did simply 



i6 OUR CAREER 

grand in the farce last night. Yes — Yes — Yes — 
Yes — (aside to Stewart) Mildred never did let 
you get a word in edgewise. I don't see what you see 
in her, Stew. Now listen, Mildred, what I rang you 
her. Stew. Now listen, Mildred, what I rang you 
up for was to say — that Stew — (quickly) Stewart 
has been the saddest, dumpiest fellow since he has 
had that little fuss with you. It's awful to have 
him around the house. Yes — awful. Now, Mil- 
dred, don't be a piker, be a good kid and make up 
with him. Do it for my sake, and mother's. What ! 
(aside) Stew, beat it to the front door, (to Mil- 
dred) What! Why, no, Mildred, Stewart isn't 
here with me telephoning. He's outside. Now 
listen, Mildred, come to lunch to-day and surprise 
him. Will you? Oh, you are the dearest girl — 
alright Mildred — we have lunch at twelve — see 
you later — Bye-bye. (hangs up — aside) Silly 
kids — they're in love — that's all. 

Stewart. (rushing from door eagerly to 
Dolly) Is she coming — is she coming? 

Dolly. Yes. (Stewart kisses Dolly ajfection- 
ately) That's the first kiss — Stew, you ever gave 
me as long as I can remember. Now, Stew, I did 
you the favor so come on upstairs and change your 
clothes. Forget that Mildred ever was born. I've 
got a whole line of talk that you've got to learn 
word for word. Won't it be a joke? Gee, won't it 
be a joke on Bobby — Stew — Yoit — as the great 
New York Manager. (exit Stewart, laughing. 
Dolly to herself) The biggest joke of my life if it 
don't work. I'll take the chance. 

(Exit Dolly — she runs upstairs. The dancers come 
on stage. Bobby is center of attention.) 

1ST Boy. Say — Bobby — how did you ever think 
of that plot, anyway, clever as the mischief — al- 
right. 



OUR CAREER 17 

Bobby. Purely an inspiration. A great gift in- 
deed for one to have, I will admit. 

1ST Girl. Well, I thought everybody did fine, 
but don't you think Meta Hudson tried to impress 
her leading ladyship too much on everyone? 

Bobby. Yes — I heard someone else say — she 
tried to hog the show. 

Vera Hasten. Yes — Mister Cameron — you 
wrote the farce — you ought to have had the most 
to tsay. 

Bobby. I'd be satisfied how the whole thing 
went off, if that French professor hadn't brought 
his kid to the show and let it cry in the climax of 
the play — cried in French too — worse squeaking 
I've ever heard. You heard it — didn't you? 

Everyone, (laughing) Yes. 

Vera Masten. Oh — Mister Cameron, would 
it be too much trouble if I asked you to bring me a 
glass of water — I'm tso thirsty. 

Exclamations from Everybody. So am I — 
mind getting me one too — me too — dry as a fish. 

Bobby. Sure, I'll get you some right away. 

Vera Masten. Shall I help you, Mr. Cameron? 
I'll go with you. 

Bobby. Oh — no, thanks — don't bother — just a 
minute. I'll call Dolly, she knows where every- 
thing is. She'll serve it. (goes up stage calling) 
Dolly! Dolly! 

• Vera Masten (to girls) Oh, girls, I've got 
the worst case on Bobby. I thimply rave. 

Dolly, (from upstairs) Yes. (comes down 
center stage) Did you call me Bobby? 

Bobby. Yes. Dolly, would you please bring each 
of the girls and boys a glass of water — Dancing has 
made them thirsty. Oh — by the way — if there are 
any lemons make a little lemonade — I guess they 
rather have that. 

Everybody. Yes, lemonade. 

Dolly. Why, certainly, (looking at girls) Of 



i8t our CAREER) 

course, Bobby, there are lemons in the house, nearly 
a half dozen, {going out left, to herself) Lemon- 
ade for lemons ! 

(Dolly makes exit to get lemonade. The bell rings. 
Percy Condon opens door, and Stewart 
dressed up as Mr. Lee Brady enters. All 
stand amazed.) 

Lee Brady. I believe that Mr. Cameron, who 
wrote the Junior Farce lives here, does he not ? 

Bobby, {rushing up) I'm Mr. Cameron. 

Lee Brady. I am Lee Brady, the New York 
theatrical manager. 

Everybody. Oh ! 

Bobby. Delighted to meet you, Mr. Brady. 
(shakes manager's hand effusively) 

Lee Brady. Congratulations on your little at- 
tempt last night. (Mr. Brady lays hat and cane on 
table) 

Everybody. Attempt ! 

Bobby. Attempt ? 

Lee Brady. Yes, it was real good for an ama- 
teur performance. Of course, distinctly amateur- 
ish; but peg away, my boy, peg away. Fll grant 
that in about five years from now, if you keep on 
working all the time, you might do something really 
worth while. Take a little advice from a man of my 
theatrical experience. It's only after trying with 
make-believe plays like yours last night — that one 
ever manages to write a good one. (Bobby's bold- 
ness vanishes) BUT what I came here to-day for, 
was to get a little information from you, Mr. Cam- 
eron, — There was one girl in your cast last night, 
that was a find, wonderful dramatic personality. I 
want to know who she is. 

Everybody. I wonder who he means — who can 
it be? {giyls endeavor to look their prettiest) 



OUR CAREER ^19 

Bobby. She isn't in the room, is she? All these 
ladies were in the cast last night. 

Lee Brady, (looking around) No. {all the 
girls' hopes drop) The young lady I refer to was 
a chic girl in the Boarding School scene. Didn't 
have any part worthy of her at all. 

Bobby. Boarding school scene — ha, ha. I put all 
the Pelicans in that bunch. 

{Laughs from Everybody.) 

(Dolly enters zvitJi lemonade and is about to 
serve it.) 

Lee Brady, (seeing Dollv) Why, there's the 
very young lady now. 

Everybody. Dolly ! 

Bobby, (astonished) You don't mean Dolly? 

Lee Brady, (zvalks up to Dolly) Listen, my 
dear; I am Lee Brady, the New York theatrical 
manager and producer. My cast for next season in 
New York is row complete for the greatest and 
most pretentious musical comedy offering of the 
year. My soubrette has been taken ill When I saw 
you on the stage last night — I knew immediately 
that you could take her place and make good — as 
Madamoisellc Fleurette Caramelle, in my produc- 
tion, of the "Jolly Parisians." The salary is five 
hundred dollars per week, traveling expenses paid. 
Will you accept the offer? You must be ready, 
however, in two hours to leave with me on the one 
o'clock special to New York. 

Dolly. Will I come — Will I — this is too good 
to believe. My dream has come true, (dances 
with glee) I always knew I was cut out for a 
great actress. To be a star. Just one moment, Mr. 
"Brady, I will call mother, if she gives her permis- 
sion I will go with you. (runs to steps. Calls) 
Mother, mother, come quick, it's so important. 



20 OUR CAREER 

(Dolly takes hat and cane of Mr. Brady and walks 
across stage like a musical comedy star) Already 
I feel the part. I am — I am — what's her name — 
Oh, yes. I am Mme. Fleurette Caramelle, the gay 
Parisienne — Mother ! Mother ! Oh, my good- 
ness! I forgot — mother went to Oakland to see 
Mrs. Crosby. Wait — I'll telephone to her. Oh, 
Lord, Mrs. Crosby hasn't any telephone. What'll I 
do? What'll I do? Can't you wait till this after- 
noon, Mr. Brady, mother will be home by four 
sharp. 

Mr. Brady. Impossible. I must leave on the 
one o'clock Special for New York. If you accept 
my offer you must leave with me. I cannot under 
any condition delay my trip. 

Dolly, (provoked) She just had to go to Oak- 
land — to-day. {assumes a bravado manner, goes 
to Mr. Brady, shakes his hand) I will go with 
you, Mr. Brady, without my mother's consent. 
This is the opportunity of my life. I can not miss 
it. I'll telegraph mother. She will think I was 
right to leave without seeing her under the circum- 
stances. Don't you think so, boys and girls? 
(Everybody. Yes) Besides, Bobby, you can give 
her a message from me. (Bobby is too confused 
and too angry at the unexpected turn of events to 
give any answer) 

Lee Brady. Ah, you are a sensible girl to ac- 
cept this offer. Chances like this happen once in a 
life time. I will leave now and get our tickets — 
you pack up in the meantime, and be able to leave 
with me by twelve o'clock. You better hurry, you 
have only a half an hour, {to Mr. Cameron) 
Good-bye, Cameron. Keep working — keep work- 
ing, my lad. Good-bye, boys and girls. It does 
one's heart good to see all your bright, young faces. 
{at doorway) Au revoir. Mademoiselle Fleurette 
Caramelle — I'm a lucky man to have found you. 



OUR CAREER 21 

{Exit Mr. Brady^ all boys and girls rush down left 
stage to Dolly, flatter her, make her the center 
of attention. Bobby is entirely forgotten.) 

Everybody. My, you are a fortunate girl — lucky 
for you. 

Percy Condon. Lucky for you, Dolly. 

Vera Masten. {girls crozvd on each side of 
Dolly) Dolly, I thought you did thimply great in 
your part last night — all of us girls thought so, too, 
didn't we, girls? 

1ST Girl. Yes. We were talking about it all 
evening after the show. 

Dolly, {releasing herself) I thank you all very 
much, girls, but you will have to pardon me, I will 
have to leave you to go and get packed. My, just 
think, I've only half an hour, and then — {as she 
crosses right, sees Bobby seated dejectedly in chair, 
stands in back of him, debating to herself whether 
she should tell the ivhole joke) 

Vera Masten. {to girls in low voice) Don't 
think much of being an actress, kind of common I 
think — wouldn't go if I could, {to Dolly) I'll tell 
you what we'll do. Let's all go home to lunch now 
and be back in time to see Dolly off. 

Everybody. Yes, that's a fine idea. 

Vera Masten. {crosses right, caresses Dolly) 
Oh, I can't think of having you go, Dolly — one of 
my best friends — I bet I'll have one of my crying 
tspells to-night. 

Dolly. Oh, don't take it so hard, I'll come back 
on one of my tours and see you all again, {walks 
to door up stage left) 

Girls. {caress Dolly) Good-bye. Dolly — 
Good-bye, dearie. Bye-bye, Angel. 

Boys. Good-bye, Miss Dunn — so long — we'll be 
back in time to see you off. {exit Boys a^id Girls) 

Vera Masten. {to girl friend before they leave 
the room) It's just as well to be nice to somebody 



22 OUR CAREER 

who's going to be Somebody. We might get some 
good out of her, some day. 

(Dolly, zvho has been standing unseen by stairway 
is about to go upstairs, — she peeps at Bobby. 
Bobby, in a rage stands dozvn left stage. ) 

Bobby. Dolly, I want to speak to you. 

Dolly, {coming down stage right) Me, well, 
alright, Bobby, just for a moment, though. You 
know I've hardly a second to waste. 

Bobby. You — know — very well, Dolly, how I 
feel about what you are intending to do. 

Dolly. How you feel about it ! Why, Bobby, I 
never even for a mxoment considered how you felt 
or what you thought about the plan. If I had I 
would have asked your advice before giving my 
consent to Mr. Brady. 

Bobby. Since that's the attitude you have taken 
toward me all of a sudden, Dolly, I'm going to 
speak my mind. Nothing could keep me from doing 
it either. Dolly, you know as well as I do, that 
there was an understanding betv/een us. Why, 
we've been the best of pals, and you know, you 
gave me your promise you would become my wife. 
You know how I hate a woman who asserts her 
personality — that suffragette type. You know my 
opinion of actresses and stage life in general. I 
don't want my wife in any way mixed up v/ith the 
work. Dolly, if you go on the stage, you will break 
my heart. And just a few moments ago I was so 
happy, so happy. Blame it ! It's all on account of 
that darned old Junior Farce. Wish I had never 
written the crazy affair. (Dolly crosses left as if 
about to leave room. He turns tozvard the tctble 
and his eyes fall on the deed for the lot and plans. 
He takes them up and holds them before Dolly) 
Look, Dolly. Here are the plans for our little 
home. Oh, you are so cruel to destroy my happi- 



OUR CAREER 23 

ness. {opening the plans — looks at them) And 
here is the little sink where I was going to wash 
the dishes, and here is the little board that you were 
going to lay them on after they were dry. Oh, 
Dolly, I love you more than anything else in the 
world. Stay, Dolly, don't go and leave me, change 
your mind, stay, please stay, (he sobs silently, let- 
ting papers fall to table, throws himself dejectedly 
in chair at right of table) 

Dolly, {triumphant) Bobby, I'm sorry to see 
that my going away has affected you so. But work, 
Bobby, ivork, as Mr. Brady advised you to do. You 
will find happiness in your work. Imagine, won't 
it be something to look forward to, if you can turn 
out a successful play in five years. Maybe — here's 
an idea — I'll even buy the play from you. Anyway, 
send it to me. If I get a chance I'll read it. Bobby, 
you are looking at things on the gloomy side just 
now. You are a pessimist. I'm sorry for you, really 
I am. But as for me, I have always felt that I 
was born to become a great actress. Mr. Brady's 
opinion I take as something worth while. I, too, 
am going to work. I have a future before me. I 
can't allow anything as trivial as my affections to 
run away with me. I have always been fond of 
you — Robert, but there is something bigger, some- 
thing greater in life for me now, than to become 
your wife. My Work, My CAREER, stands in the 
way. (Dolly about to walk off stage) 

(Bobby stands, crushed — speechless. Bell rings, the 
boys and girls have returned with a present or 
flowers for Dolly. Rambling, excited conver- 
sation throughout room. Tooting of automo- 
bile horn heard outside. 

Percy Condon. {handing Dolly a present) 
It's not the gift, Dolly — ^it's the thought that goes 
with it. (Mr. Brady enters hurriedly) 



24 OUR CAREER ' 

Mr. Brady. I've got the tickets, Miss Dunn, are 
you all ready, we've only five minutes to get down to 
ihe station. 

Dolly, (glancing fondly at Bobby) Mr. Brady, 
I'm sorry to disappoint you — but I have decided not 
to go with you to New York. 

Mr. Brady. What! 

Bobby. What — what's that you say, Dolly? 

Everybody, (exclamations) Oh! Why — what! 
Imagine, I wonder what's the reason. 

Vera Masten. (to girls) Oh, I'm going to ask 
Mr. Brady to let me go with him, I'm just crazy 
about going. 

Mr. Brady. I never had such a thing happen to 
me in my entire theatrical career. I call it down- 
right amateurish. A great chance — a wonderful 
career lies open to you. Why, it is positively 
absurd. 

Dolly. Absurd — no — for my career will be 

(Dolly walks down center stage, follozved by Man- 
ager and Bobby, one entreating her to go, the 
other to remain.) 

Bobby. What? Speak, Dolly, speak. 

(Twelve o'clock church hell rings. Lunch hour. 
The door bell rings, and door is opened to 
Mildred Benson by one of the boys standing 
nearest to door. Mildred enters. At sight of 
Mildred, Dolly crosses left.) 

Stewart. Oh, girlie, I'm so glad you've come. 
(at sight of Mildred, the girl he loves, he forgets 
all about the impersonation of Lee Brady) You 
are not angry, you are not mad? Take ofif your 
things. Stay for lunch, stay for lunch. 

l^IiLDRED. Oh, OH ! (faints in chair down stage 
right) 



OUR CAREER ^5 

{Exclamations from everybody.) 

Everybody. Why, the impudence — who is this 
man — why, he's crazy. Quick. Hold him down, 
hold him down. 

Dolly, (conscience-stricken) Quick, Percy, get 
some water, she has fainted. 

(Club boys bounce on manager and hold him 
down.) 

Vera Hasten, (hysterically) Why, of course, 
he's crazy. I just knew he was, the minute he chose 
Dolly Dunn to act as a leading lady ! 

Mildred, (coming to) I'm alright. Oh, but 
who is that brute? 

Stewart. Brute, eh, (turning to Dolly) See 
here, Dolly Dunn, I've carried this just far enough. 
A joke is a joke, but when it comes to scaring 
Mildred in this way, I'll end it right here, (he pulls 
off zvig, to everybody's amazement) 

Everybody. Stewart ! 

Mildred. Stewart! Oh, I'm so glad it's only 
you. Oh, Stewart, dear, you frightened me so 

Stewart. I didn't mean it, Mildred, I wouldn't 
frighten you for anything in the whole universe. 

Percy Condon. Oh, slush! 

(They, Stewart and Mildred, go off in a corner 
talking confidentialy. ) 

feoBBY. Well, who started this funny business, 
anyway? (to Stewart) Stewart, you had the 
nerve 

Dolly. Bobby, it wasn't Stew's idea. Oh, no, it 
was mine — I claim all the honors. 

Bobby. Why, Dolly, you made me spend the 
most miserable hour of my life, making me think 
you were going away. Why did you do it ? 



26 OUR CAREER 

Dolly. (forgetting herself) Bobby, I only 
wanted to see if you really loved me — (quickly col- 
lecting herself) I only wanted to see if I could 
give you another plot for a play. 

Everybody. Pretty good idea ; great plot at that. 

Bobby, (coming to his senses) Dolly, I think 
you are the cleverest, the dearest little girl in the 
world, (grasps Dolly's hands) 

Percy Condon. Oh say. somebody start some- 
thing, somebody say something, I'm getting noivous. 
Let's have some music, (rushes into other room and 
plays lively waits) 

(All the couples, including Stewart and Mildred, 
start in dancing and glide into parlor. Bobby 
and Dolly alone on stage, down stage left.) 

Bobby. Dolly, say you will be my partner for 
this dance, and for life. 

Dolly. For the dance, yes. For the rest (Dolly 
crosses right) — I can't give you an answer just now. 
You kn'ow my career. 

Bobby, (crossing over to Dolly) Oh, Dolly, 
forget your career, just let's be happy. 

Dolly. I'll have to consider, I'll think it over 
carefully. 

Bobby, (embarrassed, stutters) Well, listen to 
this, Dolly. Eh, make your career — eh, my career, 
and I'll make my career, your career. Let's call it 
OUR CAREER. 

Dolly, (beaming) "Our Career!" 

Bobby. Let's both live it together and see how it 
turns out. 

Dolly. Bobby, do you really mean it? 

Bobby. Do I ? With all my heart and soul. 

Dolly. All right, then, Bobby, (she sighs esctat- 
ically. They embrace) 

CURTAIN. 



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